Would UK entry Electro Velvet fare better than our last duo Jemini, who got nul points in 2003? How did special guest Australia get on? Stuart Heritage was there for every last Eurovision second

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And now we are done. Sincerest congratulations to Sweden, and commiserations to all the other contestants, uniformly doomed as they are to become embedded YouTube clips in endless ‘What the hell was all that about’ Eurovision precursor articles a decade from now.

Now, while we go through our own individual post-Eurovision decompression routines – I don’t know about you, but mine involves putting my head into a metal bin and shouting ‘Why?’ over and over again until I tumble into the comforting arms of unconsciousness – it’s time for me to thank you. Whoever you are, wherever you come from, I appreciate you hanging out with me this evening. If you want to follow me on Twitter,
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'Fanny and Alexander' movie: Ingmar Bergman classic with Bertil Guve as Alexander Ekdahl 'Fanny and Alexander' movie review: Last Ingmar Bergman 'filmic film' Why Ingmar Bergman's Fanny and Alexander / Fanny och Alexander bears its appellation is a mystery – one of many in the director's final 'filmic film' – since the first titular character, Fanny (Pernilla Allwin) is at best a third- or fourth-level supporting character. In fact, in the three-hour theatrical version she is not even mentioned by name for nearly an hour into the film. Fanny and Alexander should have been called "Alexander and Fanny," or simply "Alexander," since it most closely follows two years – from 1907 to 1909 – in the life of young, handsome, brown-haired Alexander Ekdahl (Bertil Guve), the original "boy who sees dead people." Better yet, it should have been called "The Ekdahls," for that whole family is central to the film, especially Fanny and Alexander's beautiful blonde mother Emilie,
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It's a measure
of how completely the Internet has transformed communication that I need to
explain, for the benefit of some younger readers, what encyclopedias
were: bound editions summing up all available knowledge, delivered to
one's home in handsome bound editions. The "Great Books" series zeroed
in on books about history, poetry, natural science, math and other fields of study; the "Great Ideas" series was meant to tie all the ideas together, and that was the mission given to Roger when he undertook this piece about film.

Given the venue he was writing for, it's probably wisest to look at Roger's long, wide-ranging piece as a snapshot of the
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One in four people suffer from mental illness in their life, therefore craziness in all its different flavours fascinates and equally appalls humanity at large. The fascination with madness was adopted as a thematic concern in cinema as early as 1920 with Robert Wiene’s classic German Expressionist film, The Cabinet Of Dr Caligari.

That was far from the end of it, and no director would approach insanity with such gusto as Swedish master Ingmar Bergman who made many very intelligent films that revolved around insanity including Face To Face – in which a psychiatrist has a nervous breakdown, Hour Of The Wolf – which could nearly be called a horror movie it evokes the sensation of encroaching madness so well. It is fair to say, that if you want to wallow in mental health misery, Bergman delivers the goods.

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